THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...

APPENDIX V
SCALES/MODES OF THE MELODIES, COMPARED BY GENRE
A word on the identification of modes
Seven-note modes in this paper are identified in terms of the traditional church modes. The intervals of
each mode correspond to those that result from starting on a different note, as follows:
A B C D E F G A Aeolian
B C D E F G A B Locrian
C D E F G A B C Ionian
D E F G A B C D Dorian
E F G A B C D E Phrygian
F G A B C D E F Lydian
G A B C D E F G Mixolydian
Pentatonic modes are classified similarly, but with only five notes:
A C D E G A Aeolian pentatonic
C D E G A C Ionian (major) pentatonic
D E G A C D Dorian pentatonic
E G A C D E Phrygian pentatonic
G A C D E G Mixolydian pentatonic
Hexatonic modes are similar to the pentatonic modes, but they have a sixth note of some kind in addition.
For clarity, they are identified not by the sixth note they possess but by the note that is lacking to make it
a complete 7-note mode.
Easter carols
Scales/modes of the 9 melodies:
o 3 major
o 1 Aeolian
o 1 Aeolian hexatonic (no 2)
o 1 Dorian hexatonic
o 1 Dorian with both b7 and LT
o 1 harmonic minor hexatonic (no 6)
o 1 with both melodic and harmonic minor
G. Schirmer Christmas carols
Scales/modes of the 20 melodies:
o 10 major scale
o 3 both Aeolian & harmonic minor
116